The Slate

Here's the first video from the Mosaic Mirage project with Brookfield Homes.

Just like we promised.

Amazing music provide by our good friend Marius Masalar

1826 & Brookfield Homes

Studio 1826 recently worked with Brookfield Homes, shooting still & motion for one of their latest developments: Mosaic Mirage in McKenzie Towne.

Brookfield Homes is active in seven vibrant new home markets in Canada and the United States, including Calgary, Edmonton, Toronto, Los Angeles, San Diego, San Francisco, and Washington D.C. Brookfield Homes offers exceptional quality residences for every buyer, from first-time purchasers to the move-up market.

Speaking of first-time purchasers, Olaf (and his fiancé, Steph) just bought one. They're that good.

Stay tuned for a look at the first video from the project.

In the mean time, here are some of the shots from the shoot and it just so happens to be of the unit they bought: The Olive.

1826 & TAG

Ever laugh so hard you pee'd your pants? Even just a little?

Well that's the concept behind the Hotel Blackfoot Laugh Shop campaign by Art Director Andrew Colvin over at TAG.

Shot on location at Hotel Blackfoot. Special thanks to the Model-Who-Shall-Remain-Nameless for allowing us... complete access. Needless to say, there were some awkward moments.

Enjoy.

Hotel Blackfoot Laugh Shop

It's Alive!

Okay, live is more accurate.

Studio1826.ca is up and ready to blow minds with it's imagery of awesomeness. Home to the work of photographers Mike Heywood & Olaf Blomerus.

Have a look, check it out and pass it along.

Oh, and we're also on the Twitter. Not much right now, but that'll change.

A History Lesson

Long before the first public announcements of photographic processes in 1839, Joseph Nicéphore Niépce, a scientifically-minded gentleman living on his country estate near Chalon-sur-Saône, France, began experimenting with photography. Fascinated with the craze for the newly-invented art of lithography which swept over France in 1813, he began his initial experiments by 1816. Unable to draw well, Niépce first placed engravings, made transparent, onto engraving stones or glass plates coated with a light-sensitive varnish of his own composition. These experiments, together with his application of the then-popular optical instrument, the camera obscura, would eventually lead him to the invention of the new medium. 

In 1824 Niépce met with some degree of success in copying engravings, but it would be two years later before he had success utilizing pewter plates as the support medium for the process. By the summer of that year, 1826 (DING DING), Niépce was ready. In the window of his upper-story workroom at his Saint-Loup-de-Varennes country house, Le Gras, he set up a camera obscura, placed within it a polished pewter plate coated with bitumen of Judea (an asphalt derivative of petroleum), and uncapped the lens. After at least a day-long exposure of eight hours, the plate was removed and the latent image of the view from the window was rendered visible by washing it with a mixture of oil of lavender and white petroleum which dissolved away the parts of the bitumen which had not been hardened by light. The result was the permanent direct positive picture you see here—a one-of-a-kind photograph on pewter. It renders a view of the outbuildings, courtyard, trees and landscape as seen from that upstairs window

(Source: http://www.hrc.utexas.edu/exhibitions/permanent/wfp/).

Okay. So there you have it. The myth and the mystery to the name.

And now, for your viewing pleasure.

The First Photograph.

Joseph Nicéphore Niépce's First Photograph